ALBUM REVIEW: Wolftooth - "Wolftooth"

By: Richard Maw

Album Type: Full Length

Date Released: 19/01/2018 (Digital) |

05/2018 (LP) | 09/03/2018(CD/Tape)

Label: Cursed Tongue Records |

Blackseed Records

If you were disillusioned by The Sword after their first three albums, and if you loved Earth Witch then don't delay and get hold of this album as it is a riffing stoner metal delight.

“Wolftooth” CD//CS//DD//LP track listing:

1). Blackbirds Call

2). Aegaeon

3). Sword Of My Father

4). White Mountain

5). Frost Lord

6). The Huntress

7). Season Of The Witch

8). Forged In Fire

The Review:

Cursed Tongue Records, who recently put out vinyl for the excellent Earth Witch “Out Of The Shallow” album, have got in early as the label for Wolftooth. The band hail from Indiana and have not existed much longer than the time it has taken to put out a three track EP and then record this full length. So, what are Wolftoothall about?

It turns out that this four piece are purveyors of the finest in stoner metal; melodic riffs, but also fuzzed out tones and big sounds are the order of the day here. Think The Sword as a starting point (opener “Blackbirds Call” uses similar rhythmic motifs) but also think Angel Witchand you are about there.  Similarly “Aegaeon” utilises twin guitar sounds to excellent effect and uses slothful pacing to make the heavy happen. Great lead work and a spacey feel combine well. “Sword of My Father” has a great opening riff with some twists and turns and a solid Ozzy type vocal over the top.

“White Mountain”brings laid back vibes (the second of their demo EP tracks re-imagined for their debut), before “Frost Lord”ups the tempo and metal quotient considerably. “The Huntress” is clearly one of the bands centre pieces- featured on their aforementioned EP- this is a fine slab of melodically inclined stoner metal with great lead work and a well paced plodding tempo. The four minute mark brings a swinging groove of the finest type. Headbanging heaven.

Of the remaining two tracks, “Season of the Witch” is a bluesy and laid back track- a surprise change of pace late in the record, while “Forged in Fire”is every bit as dramatic as the title suggests. A slow burning intro, huge riffs and over six minutes of metal to close out this very worthwhile album. If you were disillusioned by The Sword after their first three albums, and if you loved Earth Witch (or haven't heard it) then don't delay and get hold of this album as it is a riffing stoner metal delight

“Wolf Tooth” is available here

Band info: bandcamp || facebook

REVIEW: Howling Giant - "Black Hole Space Wizard: Part 2 [EP]

By: Ernesto Aguilar

Album Type: EP

Date Released: 25/08/ 2017

Label: Independent

For such a new outfit, Howling Giant brings sophistication to the lyrical and musical aspects that you might not expect. The result will astonish those fans who have been eagerly awaiting this sequel.

"Black Hole Space Wizard: Part 2" CD//DD track listing:

1. Henry Tate

2. The Pioneer

3. Visions

4. The Forest Speaks

5. Circle of Druids

6. Earth Wizard

The Review:

Nashville, Tenn.'s Howling Giant, a relatively new addition to the stoner rock lexicon, has generated high hopes early. The first EP in this thematic series gained reams of positive reviews. Such coverage was earned fairly. Part One of the story was quite fuzzy, as well as robust, and drew comparisons to Electric Wizard, among other performers.

Yet can "Black Hole Space Wizard: Part 2" draw the same lofty praise as the initial recording?

The concept recordings – it is still a bit unclear if the story will carry on into a third EP, or more than that – tell the tale of humankind's rise and ultimate vanquish through the eyes of a protagonist. Such a heady vision can easily collapse under the weight of presenting that depth of a story with any hope of coherence. Howling Giant indubitably plumbs this mythology, but make it clear the music comes first. Arrangements are dexterous and vocals plaintive when needed, urgent the next. For such a new outfit, Howling Giantbrings sophistication to the lyrical and musical aspects that you might not expect. The result will astonish those fans who have been eagerly awaiting this sequel.

Howling Giant has garnered a lot of support for its sound and been likened to bands like The Sword. Although you can hear many classic-tinged acts in Howling Giant's sound, repeated listens may conjure diverse parallels. The album's opener, "Henry Tate," for example, has a sound and vocal delivery reminiscent of NoMeansNo circa "The Day Everything Became Nothing." Given NoMeansNo's pioneering post-punk bona fides, that comparison is a high compliment, but it gives you a glimpse at how deceptively talented this young band is on the new release.

The new music seems like an impressive leap from Part 1. The washed-out vocals get a much better mix this go around. Drumming here is standout. The storyline, without spoiling anything, is furthermore going to keep you listening, especially if you enjoy a story with your songs. All said, Howling Giantdemonstrates early accolades were deserved.

"Black Hole Space Wizard: Part 2" is available here

Band info: bandcamp || facebook

TRACK PREMIERE: Succumb to the beautiful devastation that is Catapult The Dead

Catapult The Dead is a sextet from Oakland, they have been together for around 5 years, playing the style of music which could be broadly described as atmospheric doom.  Thematically their debut full length, ‘All is Sorrow’ released in 2014, felt very cinematic and is very layered production wise, driven as you’d expect from a massive sounding guitar tone, but what felt quite unique is the use of keyboard.  Indeed it is the use of keys which made the band feel truly unique, giving their music a dynamic appeal. Much like the movie The Matrix, no one can really be told what is, you have to see it for yourself. In fact if you substituted Catapult the Dead for the Matrix in that quote, it quite accurately summarized their debut album

What Catapult the Dead have managed to do in their short tenure, is to produce progressive sounding doom, oppressively heavy but never idle, in the sense that it never seems to repeat singular repetitious phrases of music.  Their music is stylistically cinematic because it feels typical of how films are made, like there is one continuous story to be told, and it is always moving forward, evoking a sense that their music is a narrative to some macabre Lovercraftian tale. I feel Catapult the Deadare innovators and perhaps one of the best bands no one seems to know about, but that is about to change with the release of their  spectacular  new album “A Universal Emptiness”  released on 15 November 2017 via Doom Stew Records, and we’re stoked to be able to premiere a brand new track from the album which you stream in full below.  Preorders of the album are available here

Band info: bandcamp || facebook

ALBUM STREAM & REVIEW: Twingiant - "Blood Feud"

By: Ernesto Aguilar

Album Type:Full length

Date Released:13/10/2017

Label:Argonauta Records

"Twingiant seems like it is out to represent an immortal hard rock sound that will always be loved. It's a great sound, and one that has floated Twingiant from underground favorite to emerging powerhouse."

“Blood Feud” CD//DD Track listing

1). Throttled

2). Poison Control Party Line

3). Ride The Gun

4). Re-fossilized

5). Shadow of Southern Mountain

6). Formerly Known As

7). Last Man Standing

8). Kaishakunin

TheReview:

These moments, every band is a something-something-something. Is this a marketing thing, or entirely accurate? There's blackgaze-sludge, symphonic-death-doom, hardcore-atmospheric-drone, something-but-wait-something-else. You get the picture. Three out of ten times, there's some truth to it. The rest? Well, it's often left up to interpretation. Very charitable interpretation.

The beautiful thing, if you're Phoenix's Twingiant, is that when you have a fun and a refreshing sound you do not need a shit ton of hyphens

Since the band formed in 2010, Twingiant has seemed to pick a lane and stayed in it. Their stoner rock is cut from that classic 1970s cloth you may know well. The big sound of Mountain, the multilayered compositions of Black Sabbath, and down the line. More than a few have noticed bits of sludge metal here, but to categorize them as a sludge metal act feels inadequate. Twingiant seems like it is out to represent an immortal hard rock sound that will always be loved. It's a great sound, and one that has floated Twingiant from underground favorite to emerging powerhouse.

Their new release, "Blood Feud," comes after a string of critically hailed recordings. 2014's "Devil Down" (whose artwork was a not-so-subtle nod to Van Halen's “Diver Down”) and 2013's "Sin Nombre" both made Twingiant's reputation. There was a bit of grumbling that the last album wasn't as strong as its debut, or perhaps a tad too refined. If you were in that crowd, "Blood Feud" may be just the red meat you wanted.

There are many things to like on Twingiant's newest. "Poison Control Party Line" sees the double guitar assault of Tony Gallegos and Nikos Mixas that figures prominently throughout the album. It tends to be most resonant on this cut, but you hear its maturation on a song like "Re-fossilized." There's a subtle rhythm guitar element to it that quickly clears the way for the raucous almost full instrumental jam (vocals kick in more than four minutes in). You might be able to close your eyes and think this is what it sounded like as everyone lit up in the middle of Foghat show around 1974. Yeah, that sort of thing.

A few listens in and you come to value Jeff Ramon on drums. His playing on "Shadow of South Mountain" is without compare. Clean, rapid-fire and meets the challenge of Jarrod Le Blanc's hearty vocals across "Blood Feud." Ramon also takes on the steady build of "Last Man Standing" with aplomb. A good drummer can really make the other instruments blend together, and Ramon bridges guitars and bass into a seductive package in an all-around sharp performance.

As with any heavy rock group, though, Twingiant prospers with LeBlanc up front. Although it can't be said that LeBlanc has the greatest range as a singer, he is skilled at using what he has to the fullest extent. A song like "Ride the Gun" comes at you with a familiar sounding chord progression and chorus, but LeBlanc draws it out to something more unique with his signature snarl. He's also smart about stepping back and letting the music set the mood, as he does in "Throttled," where vocals don't go until a full minute in. And the pace Twingiant go for with "Blood Feud" is faster and more aggressive than even before. Thus, LeBlanc demonstrates a good intuition about what he's doing in a muscular appearance.

"Blood Feud" may not please all metal fans. However, there is a lot to like about what Twingiant are doing, especially for lovers of the classic power chords and wall of sound.

“Blood Feud” is available to preorder/buy here

Band info: bandcamp|| facebook

ALBUM REVIEW: Crackhouse - "Be No One, Be Nothing"

By: Ernesto Aguilar

Album Type: Full length

Date Released: 06/10/2017

Label: Argonauta Records

The music the performers put forth is like a flare flung out on a dark street, either as a vain hope for rescue or to light up one's march to an abyss. No doubt you will leave the strangling blackness created over three songs and 50 minutes from the darkly titled "Be No One, Be Nothing" with just that feeling.

“Be No One, Be Nothing” CD//DD track listing

1. Burden

2. Harva

3. Realm

The Review:

Every once in awhile, there are metal releases that are especially mesmerizing. The music the performers put forth is like a flare flung out on a dark street, either as a vain hope for rescue or to light up one's march to an abyss. No doubt you will leave the strangling blackness created over three songs and 50 minutes from the darkly titled "Be No One, Be Nothing" with just that feeling.

The debut full length by Tours, France's Crackhouse follows its two-song EP released in February. There, you got a taste of the trio's simply violating ethos. Crushing guitars of sludge, ingredients that bake prog-rock, heavy blues and stoner metal in the cake. You get the picture. Think Dopethrone through a flaming lawn mower. Good stuff.

And so here we are. Don't let the name – I know, I know… they're trap houses, not crack houses, these days – deter you from taking in the savagery before you. What stands out most on Crackhouse's three cuts is the aesthetic. How else can you describe songs that feel exactly right -- not too long, not bloated, but rather tell a compelling story in the time they need? "Burden" begins slowly, a formula that feels all too familiar, before drenching you in an expansive wall of guitar, bass and drums, with effects flitting in on occasion. With experienced regional artists Simon Morlec, Jean-Baptiste Carton and Guillaume Vailant making up the group, you are quickly introduced through this first track to Crackhouse's intelligent arrangements and intriguing songwriting. The vocals veer from the typical sludge blueprint – instead there are well-done echoes and emoting that is not the growling you know well, and it works. A song this big, 18-plus minutes, makes some tempo changes as the story progresses. The bass lines sway throughout, steadying what can at points be swinging emotions within the opener.

The closing track matches its opening partner and just over 22 minutes. "Realm" has a copacetic space rock build that succeeds by not relying on classic metal tropes that sometimes creep in during these styles of introductions. Into that third minute, Crackhouse churns a gratifying post-rock pace that feels original. Drums pick up, however, and the band matches them with harder guitars and faster bass. The trio does not let up from the first one-third of the music until the end; the music is intense and vocals are tenacious.

One of the biggest difficulties for stoner and doom bands that attempt massive compositions is not sounding derivative or overlong. Middle track "Harva" strikes a blistering balance with its impressive guitars and songwriting, while upholding the style Crackhouse generated attention for. Although it could be said its open and close could be tighter, the band's complete debut "Be No One, Be Nothing" frankly would not be as excellent. Crackhouse creates an oppressive release certain to remind you why it is a name to be watched for in metal into future recordings.

"Be No One, Be Nothing" is available here

Band info: bandcamp || facebook

FOR THOSE ABOOT TO ROCK: Riffs of Canada with Loviatar (Ottawa, Ontario)

By: Mark Tremblay

Album Type: Full Length

Date Released: 29/07/2017

Label: Prosthetic Records

“Loviatar” CD//DD//LP track listing:

1). Nascent (Stygian Wyrm Pt. I)

2). Discordant (Stygian Wyrm Pt. II)

3). Ascendant (Stygian Wyrm Pt. III)

4). Blind Goddess of the Nine Plagues

The Review:

Very rarely does a band capture the atmospheric nuisances of the sludge/doom genres. Loviatar have created a conceptually nuanced and atmospheric record unlike many other releases this year. The highlight of this record is the vocals. J.D’s vocal abilities separate Loviatarfrom their sludge metal contemporaries, setting the framework for the guitars and synthesizer’s to create the atmospheric depth of the record. Loviatar utilize a balanced approach to create beautiful heavy music. 

For those of you concerned primarily with riffs, there are plenty on this album. Loviatar deliver the goods with “Goddess of the Nine Plagues” with punishing riffs reminiscent of “A Sun that Never Sets” era Neurosis. If you are listener who craves more depth and atmosphere to your sludge metal, this record is definitely worth checking out.

“Loviatar”is available here

Band info: facebook || bandcamp

EXCLUSIVE ALBUM STREAM & REVIEW: Weed Demon - "Astrological Passages"

By: Ernesto Aguilar

Album Type: Full-length

Date Released: 18/08/2017

Label: Dissonant Society

Weed Demon is quite willing to show they can do a diverse attack that goes beyond a Melvins-ish crunch. It can definitely throttle you with heavy, sludged out guitars and drums. Yet, as you find on "Primordial Genocide" and elsewhere, Weed Demon can go from blasting to burrowing with its arrangements, zipping from fast to slow, metal to a variation on math rock, smoothly.

"Astrological Passages “CS//CD//DD "track listing

1. Astrological Passages

2. Primordial Genocide

3. Sigil of The Black Moon

4. Dominion of Oblivion

5. Jettisoned

The Review:

A band who call themselves Weed Demon and does five songs that clock out at 50 minutes pretty much says all you need to know about it being a stoner metal clique, doesn't it? Not completely. The Columbus, Ohio troupe has, in truth, a lot more in store for you.

Stoner metal has and has previously had many great acts as part of its history. Though the mainstream probably could not tell the difference between stoner and several other variations of doom, discriminating listeners know it when they hear it. Weed Demon flies the flag in its name and other venues. It certainly has other influences at its base.

On their debut full-length, a follow up to their 2015 EP, Weed Demonis quite willing to show they can do a diverse attack that goes beyond a Melvins-ish crunch. It can definitely throttle you with heavy, sludged out guitars and drums. Yet, as you find on "Primordial Genocide" and elsewhere, Weed Demoncan go from blasting to burrowing with its arrangements, zipping from fast to slow, metal to a variation on math rock, smoothly. "Sigil of the Black Moon" kicks off as if it is your standard issue doom cut, but evolves into capacious blues rock, then plunges you into deep sludge. Where their first recording felt straightforward and perhaps not as adventurous, Weed Demon seems more confident in their own skin, with members gutsy in their willingness to take songs out to the farther reaches of your expectations.

The vocal style is just as varied, wherein a song like "Dominion of Oblivion" conveys almost a kind of funeral doom in its chanting verbalization. Rarely do you find stoner and funeral cross paths, so this bridge of the song is fresh. The music grows more insistent as it goes on, as does the vocal. That song is followed by "Jettisoned," a sprawling 12-minute-plus track to wrap up the recording. With its harmonica accents, rockabilly sort of segueway and long instrumental stretches, the cut seems aimed at, as the group says, to smoke and just jam. However, the overall effort here is far superior to background music. And Weed Demon, regardless of its name, is hardly your average stoner metal group.

"Astrological Passages" is available to preorder/buy on CS here and CD//digital here.  The album is official out on the 18/8/2017, but you can stream it exclusively in full below.

Band info: bandcamp || facebook

ALBUM REVIEW: Woodhawk - "Beyond The Sun"

By: Ben Fitts

Album Type: Full Length

Date Released: 07/04/2017

Label: Independent

“Beyond The Sun, is overflowing with everything one could want from a great stoner rock record, thick, rumbling bass tones, sizzling guitar fuzz and infectious, mid tempo riffage, making this the kind of album that is very hard to stop listening to

“Beyond The Sun” DD//LP track listing:

1.Beyond The Sun

2.The High Priest

3.Living In The Sand

4.Magnetic North

5.Lawless

6.Quest For Clarity

7.A New Hope

8.Foresee The Future

9.Chrononaut

The Review

“Beyond The Sun”, the second album from Canadian trio Woodhawk, is overflowing with everything one could want from a great stoner rock record, it is bursting with thick, rumbling bass tones, sizzling guitar fuzz and infectious, mid tempo riffage. Woodhawk may be a stoner rock band before they are a metal band: guitarist/vocalist Turner Midzain soulfully bellows strictly clean vocals, the band doesn’t use subterranean tunings and tempos, as laid back as they are, are still brisk enough to outpace the Electric Wizards and Weedeaters of the world. That being said, “Beyond The Sun” still delves deep enough into metal territory to stand on its own as an admirable stoner metal album, as well as an exceptional rock album.

The album opens with its title track, a haunting, ambient track that instantly conjures images of strange, alien deserts, like the one depicted on the album’s cover. Dynamically, the track builds with a wonderful and meticulous patience, creating an enveloping aura of sound for listeners to lose themselves in. The spacey atmosphere of the album’s title track is echoed in the tracks “Magnetic North”, “Forsee The Future” and the Star Wars themed “A New Hope”, but “Beyond The Sun” is certainly not a repetitive record. Each one of those tracks tackles their galactic aesthetic in a unique and original way and the rest of the album pursues entirely new musical avenues. Tracks like “Living In The Sand” and the album’s closer, “Chrononaut”, feature riffs crushing enough for any metal head’s standards and the entire album is brimming with tight hooks effective enough to lodge into your skull for days.   

The standout track on “Beyond The Sun” is perhaps its sixth track, “Quest For Clarity”. Beginning with a deliciously chunky bass line, “Quest For Clarity” roars through absolutely irresistible riffs and effectively dark vocal harmonies. The result is the doomiest, most memorable track on “Beyond The Sun” and the best soundtrack to wandering an ancient desert to be found anywhere.

“Beyond The Sun” is the kind of album that is very hard to stop listening to. The songs are diverse enough to maintain interest but just similar enough to make for a very cohesive listen and gives the album an instantly recognizable sound. The riffs are so catchy you’ll be humming them long after you remove headphones and the songs are so good you will be craving the next chance you get to sit down and listen to them again.   

“Beyond The Sun” is available here

Band info: bandcamp || Facebook

CANADIAN RIFFS: BINGE & PURGE - Botfly - “Denouement” (EP) & Lousy Riders – “Orphan"

By: Mark Tremblay

Botfly - “Denouement” (EP) (Halifax, Nova Scotia)

The Review:

One of the best kept secrets of Canada’s east coast return with their follow up EP “Denouement”; a bleaker and more metallic offering to their critically acclaimed full length “Hatch”.

The first track, “29/04/2015”, brings the classic sludge/noise-rock fusion of riffs akin to that of KEN mode. Botlfy, however, add their own twist by utilizing major chords during the song’s heaviest moments, a signature of the band.

The second side of the EP, “Homesick”, is an extremely dissonant track; a song about losing touch and growing apart. On this song, Botflyincorporate post metal into their sound. The softer, delay-heavy moments within this song compliment the aggressive riffs in a way which makes the best Botfly track to date.

Keep any eye out for Botlfy when the next full-length comes out.

Band info: bandcamp|| facebook

Lousy Riders – “Orphan” (Toronto, Ontario)

The Review:

“Orphan” is the perfect soundtrack to any 60’s biker film marathon. Lousy Rider is a two piece hailing from Toronto Ontario. The band also features regular collaborations from legendary Metal producer Greg Dawson, and jack-of-all-trades musician Mike Simpson.

The album features both ends of the stoner metal spectrum; the groove-oriented“fairy wear boots” style Sabbath worship, to something a bit more sinister. “Devil’s Chair”, “You Made Me”, and “Fake House Love” bring weight through crushing riffs, and off-kilter drum beats. These tracks are much more Metal than their previous EP, and showcase growth within the band. The Kyuss flair comes through with “Radiation” and “You Made Me” that focus on vocal harmonies that are seldom pulled off in modern stoner metal.

Like all great stoner metal albums, it ends with a classic instrumental jam track. Taking a page from Sons of Otis, Lousy Riders flex their musical chops to weave a delicate and haunting instrumental aptly titled “Stoned”.

Overall. If thick riffs and out-of- the box approaches to metal sub-genres is your kind of thing, Lousy Rider’s “Orphan” is a must check out for you.

Band info: bandcamp|| facebook

11 IS ONE LOUDER: St. Louis stoner rockers Spacetrucker debut "New Pubes" & pick their Top 5 Stoner rock/metal records

St Louis's SPACETRUCKER will re-issue their debut album “Launch Sequence” on CD, just in time for their spring tour. The album consists of seven tracks that combine stoner rock with the heavy grooves of Deep Purple and Black Sabbath.  Despite the fact that the band has been in existence for a relatively short time, they have opened for bands like Jucifer, The Obsessed, and Karma to Burn. Today we’re excited to debut the opening track from the album, entitled “New Pubes”, not only that we hooked up with the band to ask if they could list their Top 5 stoner rock & stoner metal albums, as we take our weekly trip to the extreme, by cranking it to 11.  Why do we go to 11,  because “It’s one louder, isn’t it?”

Kyuss - “Sky Valley”

Perhaps it's because this was literally the first real stoner rock record I heard, to me it is THE stoner rock record; strange and heavy sounding with a psychedelic twinge and immensely strong riffage. I still remember my first listen of it; being one of my first forays into non-commercial music, I wasn't even sure what to do with it but it was the most unique thing I'd heard and has been hugely influential since. I continue to blast it regularly while cruising in the van, clenching my fist and shaking it with every syllable as I rasp out my best Garcia impression.

Sleep - “Dopesmoker”

I first heard “Dopesmoker” in the "Jerusalem" format, divided up into separate tracks. It blew my fucking mind anyway, but once I learned of the struggle involved and intent to get an uncompromised version of the real single track full-length album released, I respected this weedian saga even more. Every aspect of this from analog album production of a track of this length to executing this song live demands respect. Any true riff worshipper should consider it heresy to not hail to this album and its creators. 

Fu Manchu - “King of the Road”

The sunken mid range sound of the entire album marks it as a staple of stoner recording mentality, as well as the obvious driving force of fuzzed-out pentatonic riffs and a metronomic mountain of drums. For the gear head this particular album speaks volumes… defining the very clear association between enthusiasm for vintage machines and stoner rock. It has also become the undisputed theme music for a small sect of automobile enthusiasts: vanners. From the cover artwork to our anthem "Boogie Van",this is van jam number one. 

The Melvins – “A Senile Animal” 

They're difficult to pinpoint as solely stoner rock since the Melvins catalogue contains elements that range from totally bad ass chunky riffs and strong vocal harmonizing to drone noise and deranged octave shifts. This album made my list because it tends far towards the first two aspects like 1994's “Stoner Witch” but is especially mind warping being their first with the backing of Big Business members, adding a second drummer to increase the mad rhythm dynamics of their already incredible and unconventional Dale Crover.

Red Fang – “Murder the Mountains” 

The single "Wires" was my first listen, and while that track is a great straightahead highway rocker (and the video is highly amusing), every tune on this album is a kick in the nuts. Haunting lyrics and high contrast duelling vocalists are only the beginning; the drums are so dynamic I remember them like lyrics and the music is incredibly sludgy and brutish considering it is (the only album on this list) in standard tuning. Their deceptively simple approach to constructing ripping, writhing songs is the musical equivalent of Walter Sobchak's kidnapping resolution plan to "grab one of 'em and beat it out of him."

“Launch Sequence”is available buy here

Band info: facebook || bandcamp